Analysis Of Meeting You Halfway II

Growing up near a city filled with museums, I was lucky enough to be exposed to amazing works of art. My visits to the Frick Collection, housed in one of the only remaining Gilded Age mansions in New York, have clearly been my favorite throughout the years. In that special ambiance, I discovered the glowing and extraordinarily clear tranquil paintings of Johannes Vermeer. I was drawn to the three Vermeer masterpieces in the permanent exhibit. The personal qualities of both the mansion and the paintings captured my fascination and I returned frequently. With extraordinary clarity, Vermeer was able to capture objects precisely through light and space. At first I wasn’t sure why his paintings appeared so different from the other works of his time, but I soon realized they were infused with light and

In art, there are qualities that speak louder than words. It expresses many different messages and emotions and each person has an experience different from the next. In this paper, I will be discussing two artworks I encountered. The piece is a good example of how people can encounter different experiences in one piece. I attended the Orlando Museum of Art a while back with family and overall enjoyed my experience. On my visit, I found the museum quite impressive and felt a deep connection with specific pieces.

Vision and the act of looking is an important and recurring theme in many horror films. In early gothic literature, such as in Guy de Maupassant 's Le Horla, the author presents vision as definitive and universal proof and stresses the importance of seeing as well as the act of showing gore. As a society, we are routinely told ‘seeing is believing ' in the wake of any paranormal or supernatural phenomena, placing weight on the tangible. However, as science and technology have progressed the faithfulness of visual representation is increasingly throw into question, which in turn has led to societal anxiety. A few years earlier, video footage of an event rarely had its validity questions, whereas now it is easy

Over the years, I have flirted with visual art. It started with pencil drawing, continued as an affair with marker illustration, then a dalliance with lettering, and I now have a relationship with photography. However, my favorite art will never be displayed in museums or galleries. It is not static and immutable. Rather, my chosen medium is fluid, living, volatile. No matter how well rehearsed, it will never be the same again. That’s the beauty of performance art.

On October 29th, I attended a speech in the planetarium. The speaker’s name was Crit Callebs, a Native American storyteller. Callebs grew up on the Yakama Nation Indian Reservation and still lives there today. He has been telling stories all his life due to growing up around the elders of his tribe, and listening to all of their stories. His speech was centered on traditional stories of the Eastern Band Cherokee’s. As I mentioned above, the speech was held in the planetarium, which features elevated seats, dark lighting, and a globe ceiling. All of these features contributed to the illusion of floating. However, Callebs took it to another level by projecting the night’s sky on the screen. He turned off the lights completely, so we could not see the people directly next to us, or even him. All we saw were the stars and all we heard was him talking to us. As much as this made the atmosphere more relaxing, it also made the speech have an enervated quality to it. In this paper, I will analyze and discuss the speech’s quality points, as well as the disappointing aspects.

Oil on canvas, presented by Sir Colin and Lad Anderson through the Friends of the Tate Gallery, 1976

The below artwork was done by Man Ray, a pioneer in the 20th century and a leading figure in both Dada and Surrealist art movements (Phillipscollection.org, 2017). Although Man Ray considered himself as a painter, starting from the late 1910s, he began his devotion to photography (The Art Institute of Chicago, 2017). Through his playful experimental approach to motion and visual puns, these elements defined the characters of his work of art. Long before film photography and today’s digital camera age, Man Ray used a range of media to portray his artwork - he empowered viewers to discover the meanings behind each work.

At 1st glance this piece does look like a photograph, even a painting, but this series is a work of mixed-media layered one on top of the other in a box. Yet this assemblage of random found objects, with the artists

Since its founding, the Baltimore Museum of Art (BMA) has been exhibiting and collecting works by contemporary artists. They have an ever-expanding collection of 20th- and 21st-century art that I had the pleasure of viewing, following its remodel in 2012. In addition to the permanent collection, a new innovative experience called the Black Box gallery introduces a new way of viewing the works of contemporary artists. The Black Box allows the viewer not only to see the work in a new way, playing with light but also hear and experience images in motion. The exhibit I went to see was curated by Kristen Hileman, the senior curator of contemporary art, and it features two screen-based works as opposed to displaying one as it usually does. The two artists featured were Kara Walker and Hank Willis Thomas.Within their works, both artists discuss the feeling and experiences associated with being black in America, specifically the historical significance of the legacy of slavery.

How can art make an audience listen? Sonny Assu sets a prime example of getting a viewer 's attention, in his piece “The Away Teams Beams Down to What Appears to be Unlimited Planet,”2016 displayed at the Vancouver Art Gallery. The following writing will talk about Sonny Assu as an artist and the social historical context of the work.

An equal amount of light is present throughout the art coming from where the

Without light, the theatre cannot exist, that much is certain. As actors, as audience members, as technical visionaries, we are only as powerful as the light we are given. The extent to which we depend upon light in performance has changed dramatically throughout history, however, as light technology developed and expanded. In the history of performance, the artistic community is constantly victim to the limits of lighting technology, and exponentially altered by breakthroughs. From the utilization of candles and natural light to isolated light and electricity, the histories of illumination and theatre are virtually inseparable, and continue to push the boundaries of live performance.

Shadow puppetry had been a illusive form of moving images ever since Han-Dynasty, and also a form of art that had always intrigued me due to my heritage. During the Fringe Festival last week, I attended a contagious shadow performance called “Curious Contagion”, which broaden my view of moving images in modern art. It was assembled by a duo named “Mind of a Snail” who specialized in shadow puppetry, and they had been developing their unique blend of overhead projector and visual art since 2003. I was astonished, (along with everyone who was in the darkly lit mini gym), by the uses of the ‘moving images’ in this particular piece. They were in front of the screen, yet also they were behind in the background. Therefore how the shadows and the moving images were used/ presented can affect the reaction of viewers.

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a

where the film is been displayed with a movie projector onto a large projection screen at the front of